Sarah is thrilled to be a student of Julia Faulkner at the Curtis Institute of Music in Philadelphia. This summer, she attended The Music Academy of the West singing in the chorus of Tchaikovsky's Eugene Onegin. She is looking forward to premiering a song-cycle of Pulitzer Prize-winning composer Tania León with the Curtis 20/21 Ensemble in the fall of 2022, as well as going on tour with Eric Owens singing the Brahms Neue Liebeslieder Op. 65, traveling around the east coast. In May, she won the top scholarship from the National Society of Arts and Letters. She recently sang Despina in Mozart's Così fan tutte, Monica in Menotti's The Medium and performed in recitals of Russian and French song. This year at Curtis, she sang in the world premiere of 24 (La cura per-amore) originating the role of Milli, and participated in masterclasses with Sonia Prina, Dolora Zajick and Golda Schultz. She was also named a finalist in the Camile Coloratura Awards and the Orpheus Vocal Competition. An active participant in new music, she premiered a work by fellow Curtis student Elise Arancio, in an art song setting the text of living poet Jericho Brown.
Last year, she portrayed Annio in Mercy, a cinematic adaptation of Mozart's La Clemenza di Tito directed by Chas Reder-Shieber and guest director, tenor Alek Shrader. She also recorded Czech folk songs of Janáček and the Wood Sprite Trio of Dvořák's Rusalka and both Schumman's Frauenliebe und Leben and Debussy's Chansons de Bilitis. Since starting at Curtis in 2019, she has performed at the Kimmel Center under the baton of Yannick Nézet-Séguin with the Curtis Symphony Orchestra in the Cosi fan Tutte sextet. She covered Rosina in Il Barbiere di Siviglia and performed works by Johann Sebastian Bach with a chamber ensemble. She sang in Shostikovich's cycle "From Jewish Folk Poetry" (Op. 79) in a concert of Russian works and made her Curtis Opera debut as Cis in Britten’s Albert Herring. In partnership with the Temple Institute on Disabilities and SoundLab, she sang the world premiere of Robert Whalen’s Lost Time, an art song compiling the words of people who use Voice Assistant Technology.
In summer 2021 she returned to Classic Lyric Arts for both their French and Italian programs with pianist and coach Glenn Morton. In summer 2019, she made her role debut as Cherubino in Mozart’s Le Nozze di Figaro at the Berlin Opera Academy, and attended the Classic Lyric Arts program in Emilia-Romagna, Italy, where she sang in masterclasses with Sandra Hormozi and soprano Donata D’Annuzio Lombardi. She went to Oberlin in Italy in 2018, where she sang in Puccini’s La Rondine, and participated in a masterclass with conductor of Opera Colorado, Ari Pelto. In summer 2017, she sang Barbarina in Le Nozze di Figaro at the Manhattan Opera Studio's Summer festival where she sang in a masterclass for conductor Roger Malouf.
Prior to Curtis, Sarah attended Columbia University and the Juilliard Exchange-Program for two years, studying under voice chair, Edith Bers. At Columbia, outside of her academics, she sang with the Columbia New Opera Workshop as Pamina in Mozart's Die Zauberflöte, Rosalinda in Strauss's Die Fledermaus, and in multiple opera scenes, including the North-American Premiere of No Masque for Good Measure by Canadian composer Matthew Ricketts. In her final spring, she narrated Stravinsky's L'Histoire du soldat. She was also involved in two a capella groups, the Columbia Music Performance Program, and Musical Mentors Collaborative where she taught voice lessons to underserved children.
"Effervescent, harnessing grace and captivating emotion... and with pure vocal prowess"
She attended the Juilliard Pre-College her senior year of high-school, studying with Lorraine Nubar. In high-school and grade school, she was heavily involved in musicals and performed in countless shows and concerts, and is still very passionate about theatre. Some of her favorite roles include: Clara (The Light in the Piazza), Maria (The Sound of Music), Anna (The King and I), Nellie (South Pacific), Vivienne (Legally Blonde), Meg (Little Women), and Fastrada (Pippin). She also participated in workshops of a genre-blending Dido and Aeneas at NYU and a review of songs set to Sean O’Casey writings at the Irish Repertory Theater.
She has been awarded scholarships from the National Society of Arts and Letters, the George London Foundation and the Voce di Meche opera blog. She was a finalist in the Orpheus, Opera Grand Rapids, Camille Coloratura, New York Lyric Opera, and Hal Leonard vocal competitions. She also won Outstanding Lead Actress and Supporting Actress in a Musical at the National Youth Theater Awards.
Sarah started taking voice lessons at age 8, and is so grateful that she gets to pursue her passion to its fullest extent. At 10, she started studying with mezzo Gulnara Mitzanova and since then, has been exploring the joy her voice brings to her, as well as to other people. She wishes to use her voice in all capacities, as she believes artists have the beautiful opportunity and responsibility to spread light, love, and compassion for all beings. She loves literature, nature, art, and hopes to combine all of her disciplines to keep exploring what it means to be alive.